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* Of all the one-off companions The Doctor has ever had, Wilfred is by far the best. He’s initially the focus of this epic story; we’re introduced to it through him, and his band of alien-hunting pensioners. How refreshing to have an older man fulfilling the traditional companion role, and for him to prove so worthy of the position – he dives in feet first, his deep love for The Doctor matching that of the audience.

* It’s a bit weird that, from The Doctor’s perspective, this doesn’t carry straight on from The Waters of Mars. It rather undermines the seriousness of that story’s climax; instead of carrying the weight of his huge mistake and his impending death, he swans in fresh from his holidays and boasts about shagging Queen Elizabeth.

* I’d forgotten exactly what Lucy Saxon’s role was in The Master’s resurrection. I’d seemed to recall that she was complicit in the plan – shooting him so that she could then retrieve the ring – but I must have been remembering my theory from beforehand, rather than the actual episode. Turns out that she’d just been caught up in all of it, and in fact managed to throw a spanner in the works right at the crucial moment.

* Unfortunately, I’m not keen on the effects of her spanner. The whole concept of the resurrection was a very TVM-esque interpretation of The Master as some sort of irrepressible form of energy, rather than mere flesh and blood. I’m not quite on board with this – he’s more scary if he’s just an evil version of The Doctor, not if he’s shooting lightning bolts from his hands and flying about like a comic book villain. I’m not sure why the trauma has made him blonde either.

* Today’s “oh, it’s them!” watch: David Harewood! In a surprisingly small role for someone of his pedigree. June Whitfield! Her and Cribbins are totally at it. The woman werewolf from Being Human! I had to look her up, because I knew I recognised her from something but couldn’t place what. In my defence, she spent most of the episode disguised as a cactus.

* “President Obama has promised to end the recession”. This was less than eight years ago, but wow, the world truly was a different place, back when we had: a) a President who people around the world respected; and b) so few problems that one single action could make a tangible difference.

* It’s not very festive, is it? Other than the odd bit of tinsel, the only major concession to Christmas is The Master devouring a giant turkey. That’s about it until Part One ends with the words: “And so it came to pass, on Christmas Day, that the human race did cease to exist”. Well, Merry fucking Christmas to you too, James Bond.

* The Master making everyone into copies of himself is basically what happens in The Empty Child, but with an evil genius instead of an innocent boy. Honestly, it’s Simm City out there. With nearly seven billion clones milling about, it’s a good job the original Master seems to be in control of them – I’d have thought they’d all want to be in charge, bickering over who got to show off in front of The Doctor and who had to do the minor admin. It’d be like the Red Dwarf episode Me2, except they’d have to call it Me6.8billion.

* Considering all the epic stuff that’s going on, with The Master victorious and bloody Rassilon turning up with his special glove, the first time I felt moved was when Wilfred tearfully told The Doctor he didn’t want him to die. He’s so sweet, and his presence raises the stakes even further – we know that Doctors die all the time, so can be blasé about it, but I don’t want Wilf to lose his Doctor.

* Although let’s face it, how the fuck does he survive jumping from a spaceship and falling face first through a glass ceiling? That should have been it – Tennant dead and buried before the Time Lords even arrive.

* There’s certainly a hell of a lot going on here, but it’s hard to see what the point of anything of it is, other than it all being a prelude to The Doctor’s death. The Master being back was a big threat, but Rasillon undoes everything he’d done within seconds, so that’s all sorted. So therefore the Time Lords are now the big epic thing, but they turn up far too late in the day to really make their presence felt – we were told how dangerous they were without ever experiencing it ourselves. And then they’re dealt with in five minutes. Those five minutes are good, and it’s nice to see The Master getting some element of redemption, but it’s all very hasty.

* And so it comes to pass that what finally fells the Tenth Doctor is none of these things. He emerges unscathed, and the ultimate irony is that it’s poor old Wilf that inadvertently brings him down. That’s a lovely twist, but don’t be angry at Wilf about it, you prick. He was only in danger because he saved someone else, plus you can regenerate and he can’t. This attitude left a bitter aftertaste to the Tenth Doctor’s era – I hadn’t remembered until now, but my dislike for him towards the end has clouded my view of this incarnation.

* Then of course, there’s the famous farewell tour. First up, Martha, who’s left UNIT, dumped her fiance and married Mickey. That’s quite strange; I wouldn’t have pictured them as a couple, and I hope they weren’t put together just because they have one thing in common. I like how The Doctor saves their lives, then does the same for Luke, but that his gift for Jack is to get him laid. He knows him so well.

* I’ve always wondered why he tracks down Joan’s great-granddaughter, rather than going back and just visiting her himself. But I guess it would be a bit traumatic for her if he suddenly rocked up again, plus “Verity Newman” is a lovely touch. It’s sweet that he wants to make sure Joan was happy, and I found it quite touching this time round. Although obviously not as touching as when Cribbins cries again, and therefore I cry again.

* The bit with Rose is really nice, but it would have been infinitely better had she not reappeared in Series 4, so that a distant glimpse at a woman who doesn’t know him was the closest The Doctor got to seeing her again. In fact, that’s true of the whole sequence – it would have had so much impact if Journey’s End hadn’t have happened, and it still baffles me that the big multi-companion reunion wasn’t Tennant’s swansong.

* God, he doesn’t half make a fuss about regenerating this time, doesn’t he? The Universe itself sings him on his way, which seems a bit excessive when past regenerations have been about as ceremonious as getting a bump on the head whilst wearing a blonde fuzzy wig. It doesn’t really seem to be in the spirit of the show by making such a big fuss about one particular Doctor and one particular showrunner leaving – the console room being destroyed and “I don’t want to go” make everything seem so final, which could have really undermined the incoming regime.

* Mind you, we did see much more of the new Doctor than we normally do. I remember being distinctly unsure about Matt Smith at the time, but now with the power of hindsight, it feels like a baton being passed from a good Doctor to an even better one. But that’s another story…

RATING: 8

So it’s the end of an era – my era, in fact, considering I only became a fan thanks to Russell bringing the show back. It wasn’t without its flaws – looking back, I think the constant desire to make everything exponentially bigger and better began to harm the show towards the end – but I’ll always be incredibly fond of Russell’s work on the show, and indeed incredibly grateful. It was the first version of Doctor Who that I fell in love with, and twelve years later, I can barely remember what it was like to not love Doctor Who.

Technically speaking, this isn’t the end of a series, but I feel like I should do one of these anyway:

SPECIALS AVERAGE RATING: 7.5

Seasons/Series watched: Still 30 of 36

Stories watched: 202 of 275

Individual episodes watched: 756 of 839

It’s taken ages to get through these specials, what with all the spin-offs in between, so I’m really looking forward to having a nice regular series coming up next. I’m about to start the show’s current era, and I hope I can squeeze it all in before it’s no longer the current era…

Well, there is certainly a lot to process here, having experienced this rather epic tale for the first time since broadcast. And I haven’t had to tag this many returning characters since The Five Doctors (or possibly Dimensions In Time). There are more notes to make than I have time; brace yourself for a fuckload of small to medium sized bullet points.

* This is essentially the entire four years of the revival thus far in one go. It’s a pleasantly nostalgic greatest hits package, celebrating a truly brilliant period in the show’s history, but the joy is slightly tempered by the knowledge that they’re going to do all this again in five episodes’ time.

* Well, Torchwood are less sweary and sex-obsessed than usual. They seem to be over Owen and Tosh already, which should save some time come Series 3. Over on the other spin-off, poor old Maria and Clyde weren’t invited to the party, but at least Mr Smith is better now. The last time we saw him, he was intent on killing Sarah Jane and destroying the world, but this was probably not the occasion to dwell on that.

* The obligatory RTD Episode 12 celebrity cameos: Richard Dawkins! Why is he there doing spacey sciencey stuff? He’s a biologist; it should have been Brian Cox or suchlike, but then Brian Cox isn’t married to an ex-companion. Also, Paul O’Grady! And his dog! Ianto’s a big fan, even if the rest of us aren’t.

* Usually when the human race is threatened by aliens, they all band together and look after each other. This time, they react by setting fire to shit and looting, to the extent that nobody notices Rose running round with a big space gun, at least not until she starts threatening people with it.

* Sarah Jane’s reaction to the Daleks nearly got me going. All four former companions were scared, but it was especially emotional when it was Sarah Jane, hearing those voices again after so many years. The sheer terror they inspire in these characters really sells them as a threat. It’s interesting that these days, the villains are shown to react like that upon realising they’re up against The Doctor.

* It’s a shame that The Doctor spends so long poncing around with the Shadow Proclamation while the exciting Dalek stuff happens without him. While he’s there, he says “someone tried to move the Earth before” – I assume he’s talking about Dalek Invasion of Earth, but does the fact that he said “someone” mean that they’ve retroactively decided that Davros was behind that? If so, excellent.

* Speaking of whom, Davros is utterly excellent. He’s got a metal hand! Within moments, he’s shown admonishing a Dalek for sounding proud, keeping their emotions in check. Considering how much they veered from their fundamental principles in their last appearance, it’s a good statement of intent now that their dad’s back.

* The spooky woman in the Shadow Proclamation who tells Donna that she’s “sorry for the loss that’s yet to come” – that’s a dickish thing to do. If you’re a soothsayer and you can see that something terrible is about to happen to someone, either come out with it so that they can prepare, or just say nothing. Don’t vaguely allude to it and then fuck off.

* So, bees are aliens, and they abandoned the planet when they sensed its impending destruction? The last ever bee message was misinterpreted as a surprisingly sophisticated attempt to ingest nectar, process it and store the resultant substance in a honeycomb, but in fact the message was this: “So long and thanks for all the pollen”.

* I have SO MUCH TO SAY on the big Harriet Jones conference call. Highlights include:

Cribbins saying that webcams are “naughty”.

Sarah Jane telling Torchwood off for using guns, as it’s not suitable for Luke.

Martha’s mum getting a cameo for not particular reason, although it’s nice for her to get some closure on her abandonment issues from the fact that Martha subconsciously chose to teleport home.

The Mr Copper Foundation? Not sure he quite warranted a mention, but then everyone else from the last four years seems to be getting one.

Rose being jealous of Martha, in a neat role reversal.

While everyone’s firing up their supercomputers and their secret alien technology, Martha’s big contribution to the effort is forwarding on a phone number.

Wasn’t as keen on Harriet attempting to justify her Belgrano move on the basis that this latest alien invasion proves that you need to kill all aliens. However, her ultimate sacrifice does provide redemption her character deserved.

* When The Doctor joins the party, he says that “everybody except Rose” is there. Everybody? Has he forgotten the dozens of companions he had when his adventures were 4:3? Justice for Dodo.

* Then Jack fucks off to find the Doctor, abandoning Torchwood and leaving Gwen and Ianto to the Daleks, and then comes the big reunion. Despite not having been on board with the returned Rose thus far, it put a big grin on my face and nearly a tear to my eye. How perfectly tragic would have been if the Doctor actually regenerated at this point, so that she got so close but still never touched her Doctor again. The giant fuck-off “TO BE CONTINUED” that followed is a bit stupid, but kind of justified – it really is one of the greatest cliffhangers of all time.

* Sadly, the resolution to said cliffhanger is all very convenient, with each individual threat neutralised by a hitherto unmentioned safety net: Mickey and Jackie turning up (sans Pete, sadly), Torchwood’s magic bubble and The Doctor’s sneaky hand job. It’s not deus ex machina – very few people who use that term as criticism seem to know what it means – it’s just a bit of a shame. They got away with quick and easy cliffhanger resolutions loads in the old days, but that’s because there were at least three of them per story – with this one, the resolution would ideally have matched the epic nature of the set-up.

* A few random notes from the opening stages of Journey’s End: DALEKS SPEAKING GERMAN! It seems so right, for reasons obvious to anyone who’s watched Genesis. / The Doctor is not often this scared. This is good. / When Jack’s body got incinerated, how come his clothes didn’t?

* All these years later, I’m still not sure what I think about the Meta-Crisis Doctor. I mean, it’s a complete waste of a regeneration, considering he thinks it’s his penultimate one, but it’s kind of cool to have a double dose of TV’s greatest hero. That is until he starts talking like Donna. The only thing more annoying than Catherine Tate doing comedy is David Tennant impersonating Catherine Tate doing comedy.

* Davros wants to destroy reality itself. This is certainly in keeping with the core principle that every non-Dalek life-form must be destroyed, but it would be a Pyrrhic victory. Destroying all matter as well as all life would make them supreme masters of absolutely nothing.

* Other than that, absolutely everything Davros-related is amazing. The moment where he recognises Sarah Jane is even better than when she recognised him. On an intellectual level, I think Davros betters The Doctor for the first time; the argument that his companions turn into weapons is not something I would have necessarily agreed with, but Davros convinced me. His final victory indeed. The montage of all the people who have died in The Doctor’s name was RTD going all JNT on our ass.

* It’s the perfect build up to a big climax, with all the ex-companions’ individual plans failing one by one, and the TARDIS rising from the ashes. But then the day is saved by Donna suddenly becoming magic. I know I didn’t complain when it was a magic version of Rose fixing everything, but this is why this blog is a document of an experience, rather than a series of objective reviews – it may not be fair, but it’s how I reacted. I just don’t like Donna very much. And the only thing more annoying that David Tennant doing smug is Catherine Tate impersonating David Tennant doing smug.

* Which is a bugger, because everything else is very good indeed: Sarah and Rose exchanging pleasantries while shoving a malfunctioning Dalek around; Captain Jack’s cheery suggestion of a multi-Doctor orgy; Dalek Caan turning out to be a traitor. I actually shouted “YES!” when K-9 popped up to say hello.

*The Meta-Crisis Doctor is faced with the old do-I-have-the-right dilemma, but he presses the button without thinking twice. That’s not The Doctor. The proper Doctor offers to save Davros, and he’s right to later chastise Pretend Doctor for committing genocide. In his defence, he was forged in battle, like The War Doctor before him. Perhaps the process extrapolated and personified all the worst, most dangerous aspects of The Doctor, like the triplicator in Red Dwarf, or Richard Herring playing himself at snooker.

* Can you imagine the ecological damage that’s done by dragging the Earth from one end of the universe to the other? Nevertheless, it’s a joyous scene to end the episode… except that there’s still ten or fifteen minutes to go. We then get a long sequence of long goodbyes. Why exactly does he drop off Sarah Jane, Jack and Martha all in the same park? Ealing is nowhere near Cardiff.

* I’ve been trying to figure out whether Rose’s return diminishes the impact of her initial departure. I don’t think it does – I still cried like a baby when I rewatched it recently. It’s like how people complain that a cover version “ruins” a song, or a remake “destroys” a movie – no it doesn’t, because the original still exists. However, the beautiful tragedy of these two soulmates being forever separated is certainly altered by Rose being given a Doctor-shaped sex doll. It’s just all a little grubby – he’s not The Doctor, not the same man she fell in love with, but she’s happy to make do with a lookalike, even though he’s out there continuing his life without her? Nah. At the very least, we should have got to finally hear him – either of him – say “I love you” to Rose. That would have at least provided some level of genuine closure for the audience, if not the characters.

* Sadly, if predictably, the “a companion will die” prophecy turns out to be bullshit, as it was before and has been since. The memory wipe isn’t even a particularly stable metaphor for death – it’s actually saving her life. I found the sight of The Doctor enacting the procedure without her consent, while she’s pleading with him not to, a little disturbing. I mean, he’s doing the right thing, but Moff dealt with this issue a lot better with Clara.

* But at least this deed is a promise that Donna will never come back. Wilfred is damn right when he says “she was better with you” – he must be gutted to have to live with the old Runaway Bride Donna again. The permanently miserable Sylvia can do one and all, but Cribbins is just the best. Despite the high levels of emotion throughout, his goodbye to The Doctor was the only moment that made me shed a tear. Seriously, he’s one of the best actors the show’s ever had. Ever.

So, what to make of all this, after comfortably the longest post in the history of this blog? Well, The Stolen Earth is one of the best episodes ever, but Journey’s End not so much. As has been the case for much of Series 4, I’ve found that it’s a lot easier to look past the faults now that so much time has passed – it’s not the “current” show any more, it’s just one brief chapter in a long history. Rather than having to worry about what state the show is in, or which direction it’s heading, I can just judge it on its sheer entertainment value. On that level: massive, massive win.

RATING: 9

And so I come to the end of a series that I thought I hated, but then when you look at the scores…

SEASON AVERAGE RATING: 7.5

Seasons/Series watched: 30 of 35.58

Stories watched: 198 of 269.67

Individual episodes watched: 751 of 834

…the average rating is actually higher than Series 2 (although admittedly, Fear Her is a massive statistical anomaly). I dunno. I still dislike Donna, and I’m definitely starting to go off Tennant by this point, but again, with so much water under bridge, I can now look past those annoyances and see what else each episode has to offer. I guess the conclusion is that there’s very little Doctor Who that’s without a significant amount of merit, but sometimes it’s just a case of taking a few steps back before you can see it.

And now, a short break for a wedding, to coincide with the first of revived Doctor Who‘s short breaks. Join me again in a few days to begin another voyage through a whole bunch of spin-offs and specials.

* It’s hard to reconcile my residual dislike of Donna with the acknowledgement of her importance to The Doctor. My first reaction to the idea that he’d be dead without her is to scoff, but when I think back to The Runaway Bride, I have to concede that her function in that episode, when she was intended to be a one-off, is to snap the Doctor out of his post-Rose funk. It makes the question of whether it’s Donna that’s important, or if it’s just the Time Beetle, an interesting one, as you could interpret her original appearance as a case of being in the right place at the right time.

* In an episode all about the consequences of Donna never meeting The Doctor, one of the worst side-effects is her reverting to her pre-Series 4 personality for half an episode. And in an episode that revisits the recent past, it’s amusing that Donna’s beetle backpack evokes memories of Sarah Jane’s spider backpack. There’s also the return of Chantho, this time as a psychotic fortune teller, and the circle of mirrors being kinda like Kinda.

* I do like a big continuity-based romp, and it was easier to do back when there were only four series’ worth of things to remember. It’s always worth reiterating just how many times, and in how many ways, The Doctor has saved everyone’s arse. This episode tells us that also saves the lives of his former companions just by being around – he shows up to deal with the really dangerous stuff, so that they don’t have to put themselves at risk. Without him, they have to deputise, and they really don’t last very long.

* The depiction of a post-apocalyptic dystopia is stunning, adding an extra layer to prevent the episode from being just a continuity-based filler. Rather than just leaving it at bad things happening to characters that we know, it was great that they took the time to explore what happens in the aftermath of these disasters. It was grim stuff – people had to move to Leeds. It’s kind of how I picture the real UK will be after Brexit and five more years of Tories, and that was before they started rounding up immigrants. That was the darkest and most affecting part of the show, and it was neat how they didn’t need to explicitly state what happened at the labour camps, but you totally got it. Cribbins was amazing – his reaction should be shown to far right groups, as a warning of where their nonsense leads. Do you really want to make Cribbins cry? Do you?

* Lovely to see Rose, but why can’t she talk properly? She seems so different after just two years away, and it’s a bit sad – I can’t tell whether she’s supposed to have changed and developed off-screen since we saw her last, or whether it’s Billie not quite remembering how to play her. Rose has existed as an unattainable ideal for the last couple of series, so it’s hard to live up to the legend on her first reappearance. I tell you what though, that Bad Wolf stuff at the end was amazing – it was on the Pull To Open sign and everything!

* Selling an episode around the concept of “sat-nav gone bad” feels deeply rooted to the time when the technology was relatively new, and therefore still being greeted with suspicion. It was less than ten years ago, but it was still before we all started carrying around Google Maps in our pockets. However, the sat-nav thing is just window dressing in this story; the main selling point of Atmos is as a means of reducing carbon emissions, which seems more relevant today, with hybrid and electric vehicles becoming more and more mainstream. It wouldn’t require a huge rewrite if this episode was being made today – just replace the contemporary sat-nav fear with stuff about driverless cars, and you can still have people being driven into rivers.

* You can’t help but grin as Martha is reintroduced, despite the fact that it was only a week or so ago that I last saw her. I like the idea of having roving ex-companions in the field; people who are doing The Doctor’s work in his absence, and who are there if he needs them when he’s in the area. I also like the decision to make Martha and Donna get along, thus avoiding a retread of School Reunion but with a more annoying incumbent. It ties in with the conscious effort to make current companion relationship more platonic and grown-up than the last one, which I applaud, but then again I didn’t dislike the old way of doing things. It’s good to do something different just to keep it varied, it’s not that the the previous dynamic was a problem that needed fixing.

* I’m still not entirely comfortable with UNIT being repositioned as the bad guys that Torchwood used to be, but I guess that even in the Pertwee days, there was always the suggestion that they were too eager to resort to combat. The idea of Martha working from within to improve the organisation ties in with this – I suppose UNIT can be a force for either good or bad, and their moral stance changes depending on the personnel. They need someone like the Brigadier, or Martha, or later Kate Stewart, to keep them on the straight and narrow. The Doctor has been away for so long that they’ve forgotten the principles he taught them in the 70s (or was it the 80s, etc). But at least they’re still using “greyhound” and “trap” as their call signs.

* Around half way through the first episode, I wrote in my notes: “Donna wants to go home again, wah wah wah. Goodbye speech and everything.” And then seconds later: “Ah, it was a gag.” Does the fact that I took it at face value say more about me, or about how Donna has been written so far as being so self-centered and flighty? It’s me, isn’t it? But still, I don’t care about her having sad flashbacks to things that happened a maximum of three episodes ago. Literally the only good thing about Donna in this episode is getting to see Cribbins again. Sylvia’s shtick of being the nagging, Doctor-hating mother has been done to death by now, but Wilf being so excited for Donna, urging her to continue adventuring despite his fears and worries, is something new, and it’s lovely.

* I do like me a Sontaran, and Mike Thecoolperson makes a great commander. It was fun to see massed ranks of them in battle, and amusing that they still have the same old problem that you can only have one or two of them without their helmets on at once. The one that wasn’t Christopher Ryan was Dan Starkey, and it was a little bit odd so see him playing a Sontaran who wasn’t Strax, but then again, clones obvs. It was mostly a faithful and successful revival of an old villain, with the exception of the added “Sontar-ha!” chant, which was just annoying. It seemed mandatory at this stage that every monster needed a repetitive catchphrase for the kids to copy in the playground, but after four series, it’s starting to feel contrived.

* I have no particularly strong opinions on the episode as a whole – it’s one of those that just kind of exists. I’d remembered Rattigan as being absolutely awful, but he’s mostly fine until near the end when he starts throwing a strop about how clever he is. He’s a villain with no particular motivation other than entitlement and attention-seeking, and is probably the worst thing about the story, which is otherwise a perfectly serviceable mid-weight two-parter.

Ah, Series 4. I’m nowhere near as familiar with this series as I am with the previous three. For one reason or another, Who became a slightly smaller part of my life around this time – since the last series, I’d left uni, moved in with my partner and started full-time work, plus my Who-loving friends had moved out of the flat we watched most of Series 3 in, and scattered across the country. Also, I was less than enthusiastic about the announcement of the new companion, having hated Donna in The Runaway Bride and developed a strong aversion to Catherine Tate, whose piss poor sketch show was ubiquitous at this point.

When the series arrived, I found myself disliking the majority of the episodes – my memory is that it didn’t pick up until really close to the end – and as such I didn’t rewatch it on DVD nearly as much as the first three series. As always, I’ll be doing my best to approach these viewings with an open mind, and re-evaluate as I go, which should be aided by the fact that most of the details are long forgotten.

Turns out I quite like how Donna is written in this episode. I’m always intrigued as to how one-off encounters with The Doctor change people, and having Donna turn into a freelance alien investigator – like a pound shop Sarah Jane Smith – is a neat idea. I assumed at first that she was doing this because she’d been inspired by The Doctor to improve herself and live the best life she could, but the reveal that she was just doing it to try and hunt him down works just as well.

So yeah, I like how she’s written, just not necessarily how she’s performed. It’s been dialled down a notch or two since the previous Christmas, and it’s clear that Catherine Tate is a fine actress, but I just don’t get on with her as a comedy performer, with her exaggerated mannerisms and the all-pervasive am-I-bovvered tone of voice. She’s actually great in the smaller, more dramatic moments, but every time there’s a joke, no matter the quality of the writing, her delivery is always the same – shrill, over the top and way too big. It’s like nails down a blackboard for me.

The miming reunion scene isn’t as bad as I’d remembered – I don’t think the wah-wah comedy music helps, but the moment when they realise Sarah Lancashire is watching them is very good. On the other hand, “you want to mate?!” is absolutely piss-poor. It’s a rubbish joke and I’m not sure it even needed to be said – just show us that the new Doctor-companion dynamic is different over the course of the first few episodes, you don’t need to treat it like a mission statement.

Comedy was at the heart of this episode – it’s present in every episode, but the balance was definitely tipped here. It’s a bold choice for a series opener, and obviously good to mix it up after four years, but I’m not sure it paid off. The Adipose are a great visual effect, but ultimately forgettable as a Who alien, were it not for the subsequent raft of merchandise. The lack of a scary enemy made it hard to feel like much was at stake, and I found the digs about Britain being a nation of fatties a bit distasteful. And I’m not on board with Sarah Lancashire pausing mid-air to make a face, like she’s Wile E Coyote.

On the plus side, and it’s a very big plus, Cribbins continues to be utterly adorable. It’s almost worth having Donna in every episode just so we get to see Wilfred every now and then. He’s the perfect grandfather figure, and his reaction to seeing Donna in the TARDIS was a moment of pure joy.

Lastly, there is soooo much foreshadowing in this episode. You’ve got the Adipose planet being lost, an “Atmos” sticker in the window of a taxi, and a reference to the bees going missing. And then, of course, BLOODY ROSE. Despite the knowledge of what’s to come, hearing that music again sent shivers down my spine, even now. It’s a great moment.

* YAY, IT’S DOCTOR WHO. There’s nothing to make you appreciate the sight of the TARDIS and the sound of the theme tune like a solid fortnight of Torchwood. Even though it’s an episode that I don’t particularly care for, this was a timely treat, and a welcome reminder of why I’m bothering to do this in the first place.

* Why isn’t Wilfred Mott at his own granddaughter’s wedding, then? I can only assume that he dislikes Donna Noble as much as I do. As I said at the time of her initial surprise appearance, my aim is to reassess her fairly. My second first impression is that she was a bit of a hindrance to an otherwise exciting plot. Her constant negativity and aggression slowed the pace considerably; The Doctor couldn’t get anything done because she kept interrupting him to do her school girl character.

* She did get better as the episode went on – as soon as Donna began to trust The Doctor and co-operate with him, she mellowed and became much easier to empathise with. That said, I was initially quite pleased that Lance betrayed her in such a cruel way. It felt like she probably deserved it.

* I’d forgotten that the Robot Santas and Killer Christmas Trees made a second appearance. But then as soon as they appeared, I remembered the dodgy modified X Box controller that comes with them. I quite enjoyed the motorway chase with the TARDIS – nonsense, but it’s fun and it’s Christmas. Plus it resonates with me, having once been in a car that accidentally turned onto the M4 at Chiswick Roundabout. It took us an extra half an hour to get home. As for the TARDIS flying straight up into the air at the end? Nah, not for me. A bit of a step too far, after the wise-cracking giant red spider had been teetering on the edge of silliness beforehand.

* Love Don’t Roam! Excellent.

* I remember being very excited about the “Gallifrey” mention at the time, even though I was nowhere near as up on my Classic Who as I obviously am now. It was part of what seemed like a conscious effort to drip-feed the mythology into the new series bit by bit, with the flow increasing as the production gained in confidence. It’s good that we’re now at a point where New Who is creating its own legacy, but those days of speculating about who or what would come back next were happy days indeed.

* The Doctor’s subsequent victory is a little bit grim, thanks to the Racnoss’s anguished cries for her children. It’s kind of a bit genocidey, but it was the justifiable type of genocide. I remember being a little bothered by it at the time because it felt like The Doctor was acting out of character just so that Donna got the opportunity to pull him back from the brink, but I no longer agree with my foolish past self. I think Donna’s right when she says that he needs someone to look out for him, and it’s perhaps future occasions when he’s travelling alone that have changed my mind. Timey-wimey.